Coco Sumner | The Neil Young version. Many will attempt to argue but the truth isthat it's not where you're from but where you're at. Bearing that inmind it makes no distinction that the diminutive, pensive beautysitting in front of me is that the daughter of one of the lots of famousmusicians from the late 70's and 80's, as a results of she is here on her ownmerits rather than any reasonably fame by association.
Coco Sumner hasbeen notching up increasing amounts of attention lately, but afterchatting to the affable young lady barely out of her teens I begin towonder if lots of of the press coverage is for the wrong reasons. Forthe truth is that the majority of what I even have examine her needlesat the actual fact that her father is Sting, he of the long winded sexualrattle and former singer with the Police. whereas this may be undeniablytrue, these same articles have sought to denounce the buddingmusician for her parentage. an honest deal of comparable sounding vitriolmay be lots of accurately levelled at the offspring of various ageingstars, but there are a pair of things that save Coco from constant unfaircategorisation.
One is her angle towards what she is doing.Throughout our temporary but focussed interview her passion for her musicbecame lots of and lots of evident, whereas her insights into how she feelsabout what she is going to displayed that her music career was one thing buta dalliance.
Born Eliot Paulina Sumner in Pisa,Italy, in 1990 to Gordon Sumner and Trudie Styler, lots of of her earlylife was spent among the idyllic surrounds of the Wiltshire countrysidein South West England. She first started writing songs around the ageof fifteen, though had starting joking with a guitar as earlyas ten years before that. it's little marvel then that having justreached twenty years mature she is releasing her début album,having already collaborated with one or 2 of incredibly talentedindividuals.
Her first recorded efforts began tosurface a few years ago and, somewhat telling of her heritage wereheavily influenced by a mixture of reggae and pop punk. What shonethrough those early recordings quite one thing was her durable,husky voice and an outsized amount of unpolished talent. Her first releasewas a 1997 white label 7” of “I Blame Coco”, a track she wrotewith Mr. Hudson that year. it fully was from this record that she took herstage name.
“It started off with being calledCoco the Clown,” explains the hanging singer behind an unkempttangle of hair. “I don't terribly apprehend why. My mum started calling methat as a baby and then variety of people started calling me that and thenit began to stay. but once I printed up “I Blame Coco” I foundmyself writing the name of the song over and yet again on to thesleeves and once I need to the design they asked me what the name of theartist was which i used that. It gave the design of I had written this nameout concerning 5 hundred times thus I need to use it.”
By her own admission many of her firstsongs she wrote were typical of a teenager's mind; angsty andmelancholic for no good reason. Though with the advantage of some yearsof experience they began to materialise into one issue deeper andmore cryptic. Enquiring concerning the modification of musical direction andwhether that technique is forever open to changing views and thegathering of experience netted a thought-about response. “I assume themusical brain is solely like each totally different brain and it should go throughprocesses of learning things and processing them. i feel I'mlearning on a everyday and that i am hearing concerning new music on a everyday sothat's really inspiring.”
Sumner can found on guest vocal dutieson several tracks among the last few years, notably Miike Snow's“Animal” from 2009 and Sub Focus' drum and bass crossover hit“Splash” from earlier this year. The Sub Focus collaboration wasin trade for a remix of her first single “Self Machine” whichalso got re-rubs from La Roux, Pangea and super fixer Chew Fu. WhilstRackNRuin and Arthur Baker have had their suggests that with “In SpiritGolden”. This eclecticism is not merely a nod to management choiceseither, as Sumner tells me she's asked Matthew dear to remix her nextsingle, “Turn Your Back On Love.” She says she enjoys thecrossover inventive attractiveness of trading remixes for vocal spots, thoughis hesitant concerning turning into known for being a guest artist.
“I assume there is a degree where youcan do this an excessive quantity of and you wind up losing the way of your owndirection,” she states emphatically.
From the primary skank of her reggaetinged material through to her current work, the huge leap in Sumner'ssound is attributed to her work with Swedish producer KlasÅhlund, previously ofTeddybears fame and sometime producer for Robyn, Eagle Eye Cherry andJordin Sparks. Sumner was among the midst of a love/hate quantity withLondon and needed some respiratory house, thus set to want some timeout.
“London can usually be my oppressor,”states Sumner quietly, “and it fully was turning into an excessive quantity of thus I spunaround a globe and my finger landed on Sweden. thus I merely went therewithout knowing anyone or where i used to be progressing to keep or one thing. Iworked all that out once I got there, and ended up staying for aboutsix months.”
It was throughout currently and inattendance at a Gnarls Barkley concert that a devotee seen Klas Åhlund, knowing thatSumner was an addict of every Teddybears and Robyn. when introducingherself the two started talking concerning music and it wasn't long beforeshe was visiting the producer at his studio, eventually leading tothe a pair of making music along and dealing on her first album. Thereis an understated quality to Sumner that belies her age, as she omitscertain facts from our conversation that the opposite young person wouldbe solely too happy to boast concerning. She leaves out the sessions she hadin l. a. or earlier ones in Jamaica. essentially she doesn'tmention one thing concerning what ought to be a extremely fascinating life full oftravel and access to places and faces that the majority of peopledon't even have on their radar. it's this sort of discretion thatfurther shines a favourable light-weight on the musician. That, and herattitude towards variety of her seemingly lots of glamorous jobs that shehas undertaken too. Seeing the planning of abject disdain at evenbringing up her temporary stint modelling for Burberry or the bit partshe had among the 2007 feature film Stardust is enough to guide me tobelieve that being a model or an actor is not high on her list ofprofessions.
“I did alittle bit of modelling whenI was younger but it fully was nothing i used to be happy with or one thing I thoughtmuch of,” she confirms. “And I even have never terribly acted before, Iwas merely an extra because the easiest way to form a quick little bit of cash. Butmusic has frequently been my focus, I merely did those things to fund myway.”
Despite the natural tendency to thinkthat someone from such a privileged background doesn't need to thinkabout funding her own suggests that, it'd be churlish to assume that justbecause of her background, Sumner doesn't have her own sense of pridein needing to do things for herself. The signs are there, fromrunning off to Sweden for a number of trip from everything she is responsive to, toself releasing her first recordings to forging her own path throughmusic by releasing her album with comparatively little fanfare. Thealbum itself, The Constant, won't be destined for immediate classicstatus but it shows immense promise, one issue the parents at IslandRecords clearly picked up on, having signed the singer for amulti-album deal. i am wondering if this may be in any suggests that daunting, having apledge to complete such lots work before her at such an early stageof her career. Though the thought might have crossed her mind, carefulwords flow from her and notice footing in an exceedingly positive outlook on thetask in front of her.
“Hmmm,I'm terribly making an attempt forward to... I've already began to write down thesecond album. This first one hasn't terribly felt variety of a first album,it's felt variety of a learning technique, like this may be the first bit of workI'm handing in to the teacher, or the world i assume. thus i'm positive I'lllearn from this one and then future albums will feel sort of a ton of of ajourney to form.”
Thepolished, electronic pop sheen of The Constant won't frequently hit themark, but within the chrome-plated production and catchy riffs liessomething lots of putting up with, one issue that is lots of obvious when hearingSumner play the songs with an acoustic backing. whereas Klas Åhlundcan rightly be accredited for that pop overdrive with some facilitate fromEliot's friends Dan Foat and Nathan Boddy from the DJ/production teamWild Geese (who gave the tracks a “bit lots of punch andcompression”), you merely need to rummage around for Sumner's acoustic setson Youtube to see that her songs accompany a solid base to beginwith.
“I assume it's terribly necessary whenyou're writing song that they're songs first and then you may place anyproduction on them whether or not or not it's electronic, dubstep or despite,”she says to clarify the two sides to her work. “As long as you havethe structures there and that they are written by an organic and naturalbasis then you may do despite you would like with them. which i prefer playingacoustic shows as a results of it is a ton of concerning the song side of it ratherthan the pop side of it, despite which implies,” she adds with a raresmile. perhaps the foremost effective due to exemplify this may be to look at the twoversions she has recorded of Neil Young's timeless paean “Only LoveCan Break Your Heart”. the first appeared on the Luv Luv Luv labelas a 7” single and was a trustworthy rendition of Young's version sungas a duet with Fyfe Dangerfield from the Guillemots. it fully was sweet andtender; a worthy cowl, not the type of drab effort you'd utter a 'ifit ain't broke' maxim at before blanking it from your mind forever.The other version is found on The Constant, and should be a cowl of themarvellous Saint Etienne version from 1990. another time it's really true tothat version and succeeds for staying true to that course.
“I heard the Neil Young version whenI was really young and extremely loved that, then once i used to be slightly older Iheard this song from this totally different band (St. Etienne) who were huge,and there was this video for them of this huge party and thisexciting new sound. House music has additionally been really inspiring to meand my musical... likings,” smiles Sumner as she fails to go looking out thewords to specific herself properly. “So I didn't have to be compelled to changeeither of those a pair of songs an excellent deal as a results of they were every reallytributes to those songs and other people artists, that's why they're sosimilar to the originals.”
This thereforert of respect towards music ismost seemingly one issue she has learnt by being thus close to it herwhole life. learning that guitar before she had reached zero.5 adecade on the planet, having not merely an incredibly famous musicianfor a father but additionally having an older brother who had follwoed thosefootsteps before her. it fully was an upbringing that had her hold every IanDrury and ABBA concerning her heart. once I voiced a similarpredilection to the Swedish pop stars at an early age she wonderedwhy people hold them in such disdain, just about embarrassed to like aband who had such unbelievable melodies.
“I additionally went through stages of likingsome quite angry music,” she says, delving deeper into her earlyinfluences. “Things a bit like the Prodigy and Rage Against the Machine.When you are the littlest among the family and thus the littlest at school youwant to concentrate to music with swear words and you would like to throw piecesof paper at the teacher which type of issue. I didn't actuallythrow paper at the teacher but I liked that musical angle, it'smuch lots of expressive.”
Whilst that angry side of Sumner maynot have shown itself clearly on The Constant, you merely have tolisten to the lyrics throughout the thirteen tracks to see thatnonetheless there is a mind creating an endeavor to probe slightly deeper into lifethan many of her peers. Alienation and observation every play partsalong with the standard tropes of affection and idealism. The imageryladen lyrics are fuelled by quite listening sessions of IanDrury and Abba though, there's additionally some vital reading on thenight-stand.
“Itake many pictures from variety of the books and films I've enjoyedand use that in my songs. i used to be reading Brave New World before I madethe album and not such lots the sci-fi a locality of it but lots of merely theslightly dark and sinister tone it fully was written in, that stayed withme. Same with the Steppenwolf by Hermann Hesse. it is a few man wholives as a recluse and thinks he's a wolf. It's all really dark andthat helped me manufacture many pictures for the album too.”
Sumner sums things up best herself whenI raise her concerning how her experiences are up to now among the fairlytreacherous waters of pop music. Mentioning the durable unit of hermanagement and label, saying they assist each other produce carefulchoices, she adds to shut, “I assume trial and error is not alwaysthe neatest issue to undertake to to but it truly is also a way.”
One is her angle towards what she is doing.Throughout our temporary but focussed interview her passion for her musicbecame lots of and lots of evident, whereas her insights into how she feelsabout what she is going to displayed that her music career was one thing buta dalliance.
Born Eliot Paulina Sumner in Pisa,Italy, in 1990 to Gordon Sumner and Trudie Styler, lots of of her earlylife was spent among the idyllic surrounds of the Wiltshire countrysidein South West England. She first started writing songs around the ageof fifteen, though had starting joking with a guitar as earlyas ten years before that. it's little marvel then that having justreached twenty years mature she is releasing her début album,having already collaborated with one or 2 of incredibly talentedindividuals.
Her first recorded efforts began tosurface a few years ago and, somewhat telling of her heritage wereheavily influenced by a mixture of reggae and pop punk. What shonethrough those early recordings quite one thing was her durable,husky voice and an outsized amount of unpolished talent. Her first releasewas a 1997 white label 7” of “I Blame Coco”, a track she wrotewith Mr. Hudson that year. it fully was from this record that she took herstage name.
“It started off with being calledCoco the Clown,” explains the hanging singer behind an unkempttangle of hair. “I don't terribly apprehend why. My mum started calling methat as a baby and then variety of people started calling me that and thenit began to stay. but once I printed up “I Blame Coco” I foundmyself writing the name of the song over and yet again on to thesleeves and once I need to the design they asked me what the name of theartist was which i used that. It gave the design of I had written this nameout concerning 5 hundred times thus I need to use it.”
By her own admission many of her firstsongs she wrote were typical of a teenager's mind; angsty andmelancholic for no good reason. Though with the advantage of some yearsof experience they began to materialise into one issue deeper andmore cryptic. Enquiring concerning the modification of musical direction andwhether that technique is forever open to changing views and thegathering of experience netted a thought-about response. “I assume themusical brain is solely like each totally different brain and it should go throughprocesses of learning things and processing them. i feel I'mlearning on a everyday and that i am hearing concerning new music on a everyday sothat's really inspiring.”
Sumner can found on guest vocal dutieson several tracks among the last few years, notably Miike Snow's“Animal” from 2009 and Sub Focus' drum and bass crossover hit“Splash” from earlier this year. The Sub Focus collaboration wasin trade for a remix of her first single “Self Machine” whichalso got re-rubs from La Roux, Pangea and super fixer Chew Fu. WhilstRackNRuin and Arthur Baker have had their suggests that with “In SpiritGolden”. This eclecticism is not merely a nod to management choiceseither, as Sumner tells me she's asked Matthew dear to remix her nextsingle, “Turn Your Back On Love.” She says she enjoys thecrossover inventive attractiveness of trading remixes for vocal spots, thoughis hesitant concerning turning into known for being a guest artist.
“I assume there is a degree where youcan do this an excessive quantity of and you wind up losing the way of your owndirection,” she states emphatically.
From the primary skank of her reggaetinged material through to her current work, the huge leap in Sumner'ssound is attributed to her work with Swedish producer KlasÅhlund, previously ofTeddybears fame and sometime producer for Robyn, Eagle Eye Cherry andJordin Sparks. Sumner was among the midst of a love/hate quantity withLondon and needed some respiratory house, thus set to want some timeout.
“London can usually be my oppressor,”states Sumner quietly, “and it fully was turning into an excessive quantity of thus I spunaround a globe and my finger landed on Sweden. thus I merely went therewithout knowing anyone or where i used to be progressing to keep or one thing. Iworked all that out once I got there, and ended up staying for aboutsix months.”
It was throughout currently and inattendance at a Gnarls Barkley concert that a devotee seen Klas Åhlund, knowing thatSumner was an addict of every Teddybears and Robyn. when introducingherself the two started talking concerning music and it wasn't long beforeshe was visiting the producer at his studio, eventually leading tothe a pair of making music along and dealing on her first album. Thereis an understated quality to Sumner that belies her age, as she omitscertain facts from our conversation that the opposite young person wouldbe solely too happy to boast concerning. She leaves out the sessions she hadin l. a. or earlier ones in Jamaica. essentially she doesn'tmention one thing concerning what ought to be a extremely fascinating life full oftravel and access to places and faces that the majority of peopledon't even have on their radar. it's this sort of discretion thatfurther shines a favourable light-weight on the musician. That, and herattitude towards variety of her seemingly lots of glamorous jobs that shehas undertaken too. Seeing the planning of abject disdain at evenbringing up her temporary stint modelling for Burberry or the bit partshe had among the 2007 feature film Stardust is enough to guide me tobelieve that being a model or an actor is not high on her list ofprofessions.
“I did alittle bit of modelling whenI was younger but it fully was nothing i used to be happy with or one thing I thoughtmuch of,” she confirms. “And I even have never terribly acted before, Iwas merely an extra because the easiest way to form a quick little bit of cash. Butmusic has frequently been my focus, I merely did those things to fund myway.”
Despite the natural tendency to thinkthat someone from such a privileged background doesn't need to thinkabout funding her own suggests that, it'd be churlish to assume that justbecause of her background, Sumner doesn't have her own sense of pridein needing to do things for herself. The signs are there, fromrunning off to Sweden for a number of trip from everything she is responsive to, toself releasing her first recordings to forging her own path throughmusic by releasing her album with comparatively little fanfare. Thealbum itself, The Constant, won't be destined for immediate classicstatus but it shows immense promise, one issue the parents at IslandRecords clearly picked up on, having signed the singer for amulti-album deal. i am wondering if this may be in any suggests that daunting, having apledge to complete such lots work before her at such an early stageof her career. Though the thought might have crossed her mind, carefulwords flow from her and notice footing in an exceedingly positive outlook on thetask in front of her.
“Hmmm,I'm terribly making an attempt forward to... I've already began to write down thesecond album. This first one hasn't terribly felt variety of a first album,it's felt variety of a learning technique, like this may be the first bit of workI'm handing in to the teacher, or the world i assume. thus i'm positive I'lllearn from this one and then future albums will feel sort of a ton of of ajourney to form.”
Thepolished, electronic pop sheen of The Constant won't frequently hit themark, but within the chrome-plated production and catchy riffs liessomething lots of putting up with, one issue that is lots of obvious when hearingSumner play the songs with an acoustic backing. whereas Klas Åhlundcan rightly be accredited for that pop overdrive with some facilitate fromEliot's friends Dan Foat and Nathan Boddy from the DJ/production teamWild Geese (who gave the tracks a “bit lots of punch andcompression”), you merely need to rummage around for Sumner's acoustic setson Youtube to see that her songs accompany a solid base to beginwith.
“I assume it's terribly necessary whenyou're writing song that they're songs first and then you may place anyproduction on them whether or not or not it's electronic, dubstep or despite,”she says to clarify the two sides to her work. “As long as you havethe structures there and that they are written by an organic and naturalbasis then you may do despite you would like with them. which i prefer playingacoustic shows as a results of it is a ton of concerning the song side of it ratherthan the pop side of it, despite which implies,” she adds with a raresmile. perhaps the foremost effective due to exemplify this may be to look at the twoversions she has recorded of Neil Young's timeless paean “Only LoveCan Break Your Heart”. the first appeared on the Luv Luv Luv labelas a 7” single and was a trustworthy rendition of Young's version sungas a duet with Fyfe Dangerfield from the Guillemots. it fully was sweet andtender; a worthy cowl, not the type of drab effort you'd utter a 'ifit ain't broke' maxim at before blanking it from your mind forever.The other version is found on The Constant, and should be a cowl of themarvellous Saint Etienne version from 1990. another time it's really true tothat version and succeeds for staying true to that course.
“I heard the Neil Young version whenI was really young and extremely loved that, then once i used to be slightly older Iheard this song from this totally different band (St. Etienne) who were huge,and there was this video for them of this huge party and thisexciting new sound. House music has additionally been really inspiring to meand my musical... likings,” smiles Sumner as she fails to go looking out thewords to specific herself properly. “So I didn't have to be compelled to changeeither of those a pair of songs an excellent deal as a results of they were every reallytributes to those songs and other people artists, that's why they're sosimilar to the originals.”
This thereforert of respect towards music ismost seemingly one issue she has learnt by being thus close to it herwhole life. learning that guitar before she had reached zero.5 adecade on the planet, having not merely an incredibly famous musicianfor a father but additionally having an older brother who had follwoed thosefootsteps before her. it fully was an upbringing that had her hold every IanDrury and ABBA concerning her heart. once I voiced a similarpredilection to the Swedish pop stars at an early age she wonderedwhy people hold them in such disdain, just about embarrassed to like aband who had such unbelievable melodies.
“I additionally went through stages of likingsome quite angry music,” she says, delving deeper into her earlyinfluences. “Things a bit like the Prodigy and Rage Against the Machine.When you are the littlest among the family and thus the littlest at school youwant to concentrate to music with swear words and you would like to throw piecesof paper at the teacher which type of issue. I didn't actuallythrow paper at the teacher but I liked that musical angle, it'smuch lots of expressive.”
Whilst that angry side of Sumner maynot have shown itself clearly on The Constant, you merely have tolisten to the lyrics throughout the thirteen tracks to see thatnonetheless there is a mind creating an endeavor to probe slightly deeper into lifethan many of her peers. Alienation and observation every play partsalong with the standard tropes of affection and idealism. The imageryladen lyrics are fuelled by quite listening sessions of IanDrury and Abba though, there's additionally some vital reading on thenight-stand.
“Itake many pictures from variety of the books and films I've enjoyedand use that in my songs. i used to be reading Brave New World before I madethe album and not such lots the sci-fi a locality of it but lots of merely theslightly dark and sinister tone it fully was written in, that stayed withme. Same with the Steppenwolf by Hermann Hesse. it is a few man wholives as a recluse and thinks he's a wolf. It's all really dark andthat helped me manufacture many pictures for the album too.”
Sumner sums things up best herself whenI raise her concerning how her experiences are up to now among the fairlytreacherous waters of pop music. Mentioning the durable unit of hermanagement and label, saying they assist each other produce carefulchoices, she adds to shut, “I assume trial and error is not alwaysthe neatest issue to undertake to to but it truly is also a way.”
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